Showing posts with label post-punk. Show all posts
Showing posts with label post-punk. Show all posts

Scary Monsters Review

Scary Monsters
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Scary Monsters ReviewBowie's albums are like a fine wine. Scary Monsters is a particular vintage which still sounds excellent today. It's the artistic vintage of Bowie which continues to surprise people like myself.
Every new Bowie album in the 70s was a new experience for its listeners - literally. With the exception of the Ziggy / Alladin Sane period - Bowie's albums from the mid-70s onwards were refreshingly different from one another. This is no exception. It's been mentioned in other reviews that Scary Monsters was Bowie's last significant release from a historical perspective. That's pretty true. If he'd died after this was released - his legend would've certainly been sealed on a high note.
The New wave artists who were about to arrive on the UK scene worshipped Bowie. Scary Monsters shows why: Bowie was a law unto himself.
Cryptic yet accessible; raw yet melodic - Bowie's lyrics drive this album, as does the great guitar work of Fripp and a cameo by Pete Townshend. This is a far more sonic work than Bowie's previous albums, and plunges the listener headlong into his inner world. The iconic tracks here that everyone knows are Ashes to Ashes; Fashion and Scary Monsters. The lesser known tracks (ie not heard on his compilations) - form the rest of the snapshot. Scary Monsters is very much like a portrait of Bowie, of which the better known songs are simply parts of his overall psyche.
Scary Monsters capped a tremendous musical decade that blew critics and audiences away, and belongs in any Bowie collection. Many of his ardent fans wish he would or could return to this form -and some believe he has with his 90s releases, but don't believe it...For some reason, Bowie has never sounded as artistically immersed in a one particular work after this one.
So get this vintage for its raw passion. And if you can, do get the rykodisc for the extra tracks which are worth it.Scary Monsters OverviewJapanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.--This text refers to an alternate Audio CD edition.

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B-52's Review

B-52's
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B-52's ReviewMany of my friends hate the B-52's.. frankly at times I don't blame them... their music circa cosmic thing was so overplayed when I was growing up. Yes Cosmic thing is a fun album and every party I attended in MIddleschool usually ended up playing Love shack before the night ended... but it lacks something compared to their first album.. or could be thought of as over burdened.
Secondly I admitt to loving Pop music.. But the First B-52 album sounded so fresh and unique.. the band members weren't great musicians technically... but so much more energy radiates through when the band itself plays and writes their music as opposed to having other musicians and tons of production.
This is just a fun album and one of the most interesting sonic experiences out there. The first four songs are what makes this album classic.. Planet claire is the perfect way to immerse the listner into the B-52's sound. Starting with the soft menacing guitar at the begining then breaking out the organ... enter fred...
Lava and Hero Worship are good songs, they aren't the same quality as the first four and by this point in the album feel alot less fresh and creative.. the songs at the end tend to run a bit together.. while there's a moon in the sky and 6060-842 get a bit annoying an repetitive..
The cover of Downtown feels appropriate as a closer..
Overall this album is a good time and probably the most interesting and invigorating B-52 album...
Even some people who hate the bands later material will concede that the music on this album is something worth hearing.B-52's OverviewThe B-52's campy debut! Contains their signature hit Rock Lobster !

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Treats Review

Treats
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Treats ReviewThis one is going to split the jury. Sleigh Bells are not a Christmas novelty act (some will disagree) but another band from the People's Independent Noise Republic of Brooklyn and an immense grungy dance punk juggernaut consisting of Alexis Krauss and Derek Miller a former hardcore rock guitarist. For influences think Bow Wow Wow, crossed with Lil Wayne and then throw in the Beastie Boys, White Stripes and Le Tigre.
As for the music Sleigh Bells elephantine beats don't just hammer the damn things could pile drive concrete supports into the foundations for skyscrapers. Their primitive guitar fuzz is wickedly distorted and married to the simplest of pop melodies. Krauss's ever so sweet voice provides tranquillity amongst this cacophony. Thereby this irresistible mix combines with room-shaking production and big guitars and is the reason why so many people are salivating over this album on the blogosphere.
When I first played the opener "Tell em" on my car stereo it was so bloody loud I swerved to miss a passing cyclist. It is a full blown aural assault, the musical equivalent of a punch in the face and one of the quieter songs on the album. It may just be 2010's musical counterpart to last years "My Girls" by Animal Collective. In terms of what follows there is no let up or escape. "Riot Rhythm" has drums which pound and Millers guitar introduces a razor like cutting riff. "Infinity guitars" sounds like a cross between the Beastie boys and Japandroids. "Run the heart" is Abba for the Twitter generation. It is a staccato composition punctuated by bubbling noises, shimmering synths and the dreamlike vocal of Krauss. Then there is the Phil Spectorish "Rill Rill" formerly "Ring Ring" from their demo's which is a charming confection of a pop song that is a temporary if welcome relief from Miller frankly going mental. His return however comes back with all the force of a wayward Katyusha missile on "Crown on the Ground" which sounds like the treble button has broken and someone has sucked the bass out. Your graphic equalizer is I am afraid onto a hiding to nothing but it works brilliantly and is actually quite sweet in comparison to the 90 second riff monster "Straight A's" that follows which could be Husker Du having a bad soundcheck. "A B Machines" is a surf guitar hip hop mash up (I kid you not) with Krauss repeating a two line lyric throughout. Finally the title track sounds like Mastadon making a bid for the charts with a girl singer.
There will be many of you wonderful people on Amazon who will state that "you don't get this", that "you've heard it all before" or will use that ubiquitous insult that it is the "king's new clothes". Even more will complain that the level of distortion on the album (at Spinal Tap "11") is giving your speakers a workload which they neither desire or can cope with and that perhaps "Treats" should come with complimentary Paracetamol. Yet there are on occasions when certain albums for just a very elusive moment on the space time continuum appear to make all other game players sound a bit wrought and tired. Sleigh Bells new album "Treats" falls into that category and will nudge popular music into different directions.
Granted "Treats" is so bound for mainstream success and overexposure that you sense that a brief romance with this band may be the extent of your involvement, but so what it will be fun while it lasts. Thus we have an album that is very loud, trashy, and disposable and pulled off with the sort of brazen audacity that would find the state police visiting in the dark of night in a less tolerant society. "Treats" describes itself, get it on Amazon MP3 download now and be prepared for a complete sensory overload.Treats Overview

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Swoon Review

Swoon
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Swoon ReviewWhile many modern bands try to go retro and end up with sterile, insincere imitations of the 'real' thing, Silversun Pickups' traverse into 90's-tinged alternative rock (I admittedly can't help but think of The Smashing Pumpkins) is a totally different animal...the 'borrowing' of bits and pieces never comes across as shoddy...in fact, their second full-length album is one of the most 'original' works of somewhat mainstream rock I've heard in a while. The songs here are 'Indie'-sounding and melodic at the same time, and for me, music is nothing without memorable melodies.
But if you're expecting a collection of pop/rock 'commercial' songs on Swoon, then you may want to save some bucks and look elsewhere...I feel this album is best when taken in as a whole. While there are very good individual 'stand-outs' here (the super hi-intensity "There's No Secrets This Year" and "The Royal We", the hypnotic "Growing Old Is Getting Old", the catchy "It's Nice To Know You Work Alone", the beautifully melodic "Catch And Release"), Silversun Pickups create a mesmerizing atmosphere (albeit somewhat dark) that you can 'immerse' yourself into from beginning to end. Metaphorically speaking, this record is like hit-and-miss thunderstorms with periodic breaks in the clouds...the 'storms' being songs like the aforementioned opening tracks "There's No Secrets..." and "The Royal We", "Panic Switch", and "Surrounded(or Spiraling)"...and the 'breaks' being tracks like "Draining", "Substitution", and "Catch And Release"...where some of the distortion gets toned down in order to open up 'holes' where the songs can breathe and the vocals take center stage.
While Swoon generally maintains a mid-tempo nature, tempo changes are more common (both within songs and between them) this time around. For example, "There's No Secrets This Year", with those fantastic fuzzy guitars blazing away throughout most of the song, switches to a slower, ethereal, atmospheric ending minute, perfectly setting up the transition to "The Royal We", which starts out slow but quickly regains a driving tempo, and eventually soars to the rare occurrence of vocalist Brian Aubert extending his vocal range to its limit...the rest of the album mainly stays within his 'comfort zone' lower to middle registers range. On "Growing Old...", a clean bass guitar and kick drum groove serves as the foundation for light synths, delayed clean guitars, and cavernous vocals before eventually turning up the heat (and distortion) toward the end. And overall, the drum sounds here are generally 'small' sounding and not produced to be the focal point of the album's sound (plenty of loud cymbal crashes, however). The amazing intertwining of Joe Lester's keyboards and Aubert's guitars are what make this album stand out for me...the bass guitar work also drives many of the tunes in exceptional fashion.
Perhaps the album's only weakness is the moment or two when the multi-layered instrumentation and distortion leave little room for the mainly melancholy vocals to be fully intelligible, but that's a concession I can handle considering that the music of Silversun Pickups' sophomore album almost has me swooning. Grade: B+Swoon Overview

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